Специфіка художньої концептуалізації добового часу в малій прозі М. Вінграновського

In modern Ukrainian linguistics, given its general anthropological orientation, cognitive research is quite productive, including in the field of literary text, which allows us to describe the linguistic means of its interpretation at the level of conceptual structures. The basic concepts in the categorization of the world include TIME. The purpose of the study is to outline the means of artistic conceptualization of daily time and their functional and semantic load in M. Vingranovskyi’s prose texts, to consider the artistic conceptualization of daily time in view of idiostylistic features of the writer’s language. In the discourse of M. Vingranovskyi’s short prose, artistic time is not reduced to the reproduction of the properties of physical time. M. Vingranovskyi’s model of time is deeply rooted in the mythopoetic picture of the world and passed through the prism of the narrator’s individual worldview. Lingual expression of the idea of time occurs through the realization of individual temporal values. Carriers of temporal semantics in the text are often nouns, verbs, adverbs, adjectives. In addition, we consider detailed contexts with temporal content. As research shows, M. Vingranovskyi mainly resorts to the reproduction of the cyclical nature of time. Accordingly, the images of parts of the day become important. The concepts DAY, NIGHT, MORNING, EVENING in the language of the analyzed works are verbalized with words of different parts of speech, which contain the appropriate temporal sema. The nominative fields that form their artistic and semantic content are quite branched. For each of the concepts, the nucleus consists of nouns that name the parts of the circadian cycle (morning, day, evening, night), the synopsis zone includes their synonyms (dawn, predawn, twilight), adverbs to denote the duration of the action (at night, nights, by day), the initial time limit (since morning, before dawn; since evening); verbs that convey the state of nature in accordance with the time of day (to dawn; to grow dark, to get dusky, to darken). The near periphery includes nouns and qualitative adjectives, which, combined with temporal names, convey the visual, sound, tactile, psychological characteristics of parts of the day. According to our observations, the leading method of conceptualizing the time of day – the image of the time, the stretching of time. The far periphery in the expression of the analyzed concepts is formed by individual authorial figurative contexts with the names of celestial bodies, natural, spatial realities, names of animals, actualized in landscape sketches. The metaphors of movement, color and burning are the most revealing for the associative figurative conceptualization of parts of the day. It is worth emphasizing that in the perception of the time of day value markers are placed by the narrator. The specificity of the artistic conceptualization of the time of day is due to the author’s idiosyncratic guidelines, the attraction to cinematography. Images of natural time convey the idea of cyclicity, the natural harmony of time, the experience of the value of every moment of human life. Their embodiment is due to the perspective of the narrator, his emotional state.